Items

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  “Cinderella.” Fairy Tales in Easy Words, Springfield, MA: McLoughlin Brothers, Inc., [1923], pp. 3-26.

  This version of Cinderella was written with language suitable for children of all ages and contains only one-syllable words. It includes few black and white illustrations, but there are more words than pictures. This book was created with the intention of entertaining young readers who are interested in Fairy Tales.
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  Chisholm, Louey. “Cinderella.” In Fairyland: Tales Told Again, illustrated by Katharine Cameron, New York: G. P. Putnam’s Sons, 1904, pp. 185-190.

  In this version of Cinderella based on Charles Perrault’s tale, her fairy godmother used magic to transform pumpkin and animals (mice, rats, lizards) into a carriage and servants to take Cinderella to the ball to meet the Prince. Her stepsisters were cruel to her, but once they found out she was the beautiful girl at the ball with the Prince, they begged for her forgiveness. There is one color illustration for this tale that depicts Cinderella coming out of her carriage at the prince’s ball.
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  Perrault, Charles, “Cinderella; or, The Little Glass Slipper.” Old French Fairy Tales, Boston: Little, Brown, and Company, 1899, pp. 182-196.

  There are twelve black and white illustrations for this tale. The story is written in a simple style, is easy to read, and moves quickly. In the preface to the entire volume, Mary Howitt writes that her favorite fairy tale is Cinderella, because of the moral: “There is a deep moral in it—hope to the hopeless, joy to the joyless—the white healing wings of a good angel hovering over us when our hearts are shorn to the very quick by unkindness or neglect.”
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  “Cinderella.” Grimm’s Household Fairy Tales, translated by Ella Boldey, with illustrations by R. André, New York: McLoughlin Bros., 1890, pp. 106-111.

  The three black and white illustrations of this version reinforce the depressing emotions expressed in the story. Certain instances of the story are chosen to be depicted instead of others and they all point to Cinderella’s way of escape from the oppression of her stepmother and stepsisters: Cinderella in the kitchen with the white dove, Cinderella receiving the dress from the birds, and the prince holding her shoe. Loving and kind Cinderella never prevents her stepsisters from attending the festivities for her wedding. However, karma catches up with her stepsisters in the end.
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  "Cinderella." Mother Goose's Fairy Tales, London: G. Routledge, 1880, pp. 72-83.

  This is a simplified version of Charles Perrault’s tale intended for young readers. For every full page of text there is a full-page, black and white illustration. On the cover of the book, we see Cinderella and her fairy godmother, with a mouse trap and rat trap depicted on the right side of the image. This book is part of a Mother Goose series published by Routledge that included Mother Goose’s Nursery Rhymes, Mother Goose’s Melodies, Mother Goose’s Jingles, Mother Goose at Home, and Mother Goose’s Nursery Rhymes and Fairy Tales.
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  “Cinderella, or the Little Glass Slipper.” The Blue Fairy Book, edited by Andrew Lang, London: Longmans, Green, and Co., 1889, pp. 64-71.

  The illustrator for this version depicts four moments Cinderella’s story: being oppressed by her step stepsisters and stepmother, meeting her godmother, escaping from the ball, and embracing her stepsisters after they asked to be forgiven and were made noble by marrying lords. The realistic black and white illustrations are easily comprehended even without captions.
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  “Hop O’ my Thumb.” George Cruikshank’s Fairy Library, London: Routledge and Sons, [1870s].

  Cruikshank created six full-page etchings to accompany the tale of Hop O’ My Thumb that depict nine scenes from the story. Not only does Hop O’ My Thumb leave a trail of white pebbles so he and his brothers can find their way out of the woods, he also marks trees with his knife, a practice Cruikshank says in a note is typical of Native Americans: “This is what Indians do—they notch trees and so find their way through the largest forests” (p. 9). Cruikshank includes comical asides. For example, Hop knows how seven-league boots work because he read about them in a book acquired from London printer and bookseller, Mr David Brogue of 86 Fleet Street.